499 - Sam has put the finishing old-age touches on Angelique's portrait.
A hooded figure waits in the gazebo, calling to someone, begging that person "to try." Sam pauses in his work at a little after midnight, sipping some coffee. He hears sobbing emanating from the portrait.
Cassandra/Angelique bows her head and cries, hiding her aging face in the hood.
Tony comes to the gazebo. Cassandra calls him over. She's grateful he came so quickly, but won't let him get close to her. Nothing is wrong, she says, she doesn't want him to see her. She feels pain, and needs his help desperately. He wants to face her, and she says, if he insists. . .she tells him to use his cigarette lighter, if he wants a better looks. He sits beside her and illuminates her hideous, ancient crone's face.
He asks what's happened to her, but she uses the lighter flame to hypnotize him. He'll do whatever she asks, he vows. The portrait has been stolen, she says, she must get it back tonight--her survival depends on it--if she doesn't get it back tonight, she'll die. Someone is practicing black magic on the portrait, aging the face, and as the portrait ages, she will age with it. She asks him to help her find the artist working on the portrait--an artist who has dealt with the Collinses. Amos Parks and Sam Evans, volunteers Tony--his daughter is Maggie Evans. Of course, says Cass, the one who looks like Josette. Tony said he once did Barnabas' portrait. So he must be the one, surmises Cassandra. She thanks Tony and promises she will show him her gratitude. Carolyn catches them. "Well, well, isn't this a cozy little scene?" she asks icily.
Cassandra covers her face in the hood and Carolyn asks if one of them isn't going to say something in his/her own defense. Tony assures her this isn't what she thinks. She says he doesn't sound convincing--what's going on? asks Carolyn. Tony says Cassandra needed help in a legal matter. To be discussed in a tender, romantic atmosphere? asks Carolyn--she happened to wander out here because she saw his car pull in the driveway--she thought he was coming to see her! She saw him get out of his car and go to the garden, so the followed him, and didn't expect to find anything so tacky as this. Tony turns to Cassandra. Please tell her she's wrong, he insists. Speak up, Carolyn urges Cassandra. Cassandra says it wouldn't do any good--Carolyn has already passed judgment on them. No, I've only had to come to a conclusion, says Carolyn--the one who will have to pass judgment is Uncle Roger. This upsets Cassandra, who has far more pressing matters to contend with. You remember him--your husband, says Carolyn. That would be a mistake, says Cass--ever since she came here, no one has understood her, or even tried. Poor, misunderstood Cassandra, laments Carolyn with sarcasm--"If all this is so pure and innocent, why do you keep slinking back in the shadows?--come on, show us your big blue eyes!"
Sam continues to paint, and Cassandra screams, "STOP IT! STOP IT!" Carolyn asks what's wrong and Tony asks if she can't see Cass is in pain. She doesn't care, points out Cassandra, and Carolyn again observes how Cassandra doesn't want to show herself. Don't come near me, warns Cass--I don't want your help, leave me alone. Cassandra flees, and Carolyn tells Tony not to go after her--let her get help from Roger, says Carolyn, but Tony says he's the only one who can help her. Well, then, warns Carolyn, if you go after Cassandra now, you'll never see me again. (oh, no!) Tony gazes from the disappeared Cassandra to the dewy-eyed Carolyn, unsure of whether to pursue the lady or the tiger.
Tony sticks with the blonde--he'll stay. She asks if it was that difficult to make that decision. Yes, he says, but he doesn't know why. Why did you meet her here? asks Carolyn. She asked me to, he says, but he can't explain it--it makes no sense to him. They've met before, he confesses, and it's been going on about a month. (sorcery and sex?) She asks if he's in love with her, and he says of course not. Is he doing it because he hates Roger?--no--he doesn't blame Carolyn for thinking the worst, but he can't explain--she'll just have to take his word for that. Tearfully, she says she's glad to know her track record is still perfect--she meets someone she likes and everything is rosy, until she starts convincing herself he shares her feelings--then comes a rude awakening.
She knows how much he cares about her, Tony says. Yes, she says sadly, and he was wise not to let it go beyond that. That's her usual mistake--she can't just care and let it go at that--she has to start falling in love. This admission startles Tony. Carolyn says she isn't blaming him--she should have learned by this time. He pulls her close and says that a month ago, he would have been worth falling in love with. Now he isn't so sure. She asks what's happened to him, but he doesn't know. He's changed, because of Cassandra, but again, doesn't know. I know how to handle her, says Carolyn, I'll put her in her place--with Roger--she's his wife, and if she wants to stay married to him, she'll take my advice. Tony warns her that Cass is dangerous, he doesn't know how, but she has power over people. Tony, says Carolyn, if there's one thing my family has in abundance, it's power. (I love that!) He isn't referring to that kind of power, says Tony, but Carolyn assures him that if it comes to a showdown, Cass' power is no match for theirs. Tony advises Carolyn to stay away from her, and Carolyn responds that she has too much to lose if she does. She makes Tony promise not to see Cass again, but he says he can't. He doesn't want to go on seeing her, but he might not have a choice. He can't keep that promise, no matter how hard he tries. No, it makes no sense, protests Carolyn--he's either gone crazy or lost all sense of self-respect. Frankly, she doesn't care which it is anymore. Goodbye, Tony, she says, and stomps off, leaving him standing there, hands in pockets, dejected and confused. (and Cassandra is destroying the Collins family relationships in this century as she has in the past!)
Sam continues working on the portrait, which looks downright hideous now. He tells the subject of the picture that she did have such a pretty face, he doesn't know what Barnabas was thinking, but he was always on the eccentric side. Cassandra hovers outside the window, staring in. She knocks at his door and when he opens it, she enters and tells him she must speak with him. He protests--I'm working! She knows he's working, that's why she is there. She shuffles in, barely able to walk. She gazes at her portrait, then pulls back her hood to show him the face he was working on--don't you recognize it-- she asks--he's been looking at it all evening. Sam is stunned--he sees the resemblance.
She doesn't care if he understands, she says, who she is isn't important--she has come for her portrait--give it to me and I will leave you alone. The painting belongs to someone else says Sam. Barnabas Collins? spits Cassandra. Barnabas stole it from her, the portrait is hers, and she will have it back. She tries to take it, and he says if there is a dispute between her and Barnabas, she must settle it with him. She tells him she has no intention of leaving without her portrait, but he says she has to leave. She has only met him, she says, and has nothing against him personally, but she gives him one more chance to return her picture. If she refuses she will be forced to take it from him. He orders her to leave his house. Very well, she says, return to your work--try and finish the picture--just try! She hobbles out, her beautiful, youthful legs not matching her ravaged face. Sam returns to the portrait and finds it going blurry before his eyes. What's wrong with me? he wonders. Horrified, Sam realizes he's losing his sight. He looks around the room; everything growing blurry--then his vision goes dark altogether. "I can't see anything!" he cries, stumbling over his own furniture.
"Oh my god! What's wrong?" He hears someone entering the house and demands to know who it is. It's Cassandra, and she walks past the blind man, takes her portrait and tells him, "I gave you fair warning, Mr. Evans!" He demands to know what she's done to him and she bids him goodbye and leaves with her portrait. Sam, attempting to follow her, stumbles over the step, and cries, "I am blind!"
NOTES: This is one of those cases where Barnabas gets someone into terrible trouble without meaning to, but it's a damned sad thing that Cassandra took out her fury on poor Sam. Dragging the innocent into his feud with Angelique, leaving Sam blind, is taking it beyond just the two of them. Also, Cassandra mucked up Carolyn's budding relationship with Tony, which is a shame, because I think he's good for her.
500 - The blind Sam sits in a chair, staring at nothing. Maggie returns home, babbling away, and he asks, "Maggie? Where are you?" She's puzzled, then stunned when he tells her he can't see.
He tells her not to panic, then describes what happened--he was able to see, but the minute be picked up the brush. . .she goes to call Dr. Sloan, but Sam tells her before she calls him, bring Barnabas to him. He angrily orders his upset, confused daughter, "BRING HIM HERE!" Maggie hastily leaves, and Sam stumbles forward, trips over a stool, and reaches out to the empty easel.
Basement cell - Barnabas finds Willie holding up a diamond necklace and Adam trying to capture the lights reflected from it. Willie is laughing, taunting his brother, saying that Adam is so dumb, he doesn't know the value of the necklace. Barnabas enters and angrily tells Willie HE does know. Barnabas demands to know what Willie is doing. Adam found it in the wall, claims Willie. With no help at all? asks Barnabas, angry Willie is lying to him about finding Adam with the box of jewelry. Barnabas says Adam disagrees with Willie, and the latter hands back the necklace and says, "I quit." He refuses to stay! Barn asks him where he'll go--back to Windcliff? Willie says he wouldn't have left Windcliff had he knows of this baby-sitting gig. Doing a poor job of it, too, remarks Barn. Willie accuses Barn of taking everyone else's side, never his. Barnabas returns the necklace to the red velvet box, telling Willie the only thing lacking in his character that would make him a truly great blackguard is intelligence. (Ouch!--poor Willie is only looking for Barnabas' approval, how sad is that?) Willie is annoyed, but Barnabas orders him not to lie to him--then realizes the emerald earrings are gone. Where are Josette's earrings? he demands of Willie--who immediately blames Adam. Willie pretends to search the floor and Barnabas asks Adam if he has any of the jewels, holding up the necklace as an example. Barnabas pulls out his pockets, one at a time, to show they are empty. Willie does the same. Willie nervous watches as Barnabas repeats with the other pocket, as does Adam. Willie has them, says Barnabas, he must. Nope, insists Willie--search him, I don't have them! Someone has, says Barnabas. Willie suggests Adam hid them in the bed. Find them or be accused, orders Barnabas--he'll wait there while Willie tears up Adam's cot. Adam does protest when Willie takes his pillow, but Barnabas assures him it's all right. Adam smiles and says "Barnabas," looking very happy and trusting.
Julia sits upstairs at the Old House, reading a book. She answers Maggie's knock at the door. The young woman relates what happened to Sam--he wants to see Barnabas, but he needs Julia more--he's gone blind. Julia rushes off to get Barnabas--they'll both go.
Barnabas, Julia and Maggie head to the cottage. Sam wants to speak alone with Barnabas. Julia wants to give him a preliminary examination, and Maggie calls her father cruel for not allowing Julia to check him before speaking to Barnabas. Maggie leaves. Barnabas wants Julia to stay, and a furious Sam accuses her of being "in on this" with Barn. I'm not in on anything, insists Julia. Sam says she can stay, then explains to Barnabas that he followed his instructions; he describes what happened. Julia listens carefully as Sam tells of aging Angelique's portrait--all ordered and paid for. A woman came in, the woman in the portrait--she said it was stolen. Barnabas insists he had permission from the owner. Sam refused to give it to her. When he went back to paint, the woman told him he'd never finish it. He picked up his brush and found he couldn't see! Barnabas exhibits fear, knowing what has happened, feeling extremely guilty that he has brought this on Sam, who demands to know what Barnabas involved him in.
Barnabas says he had no idea there would be any danger. Julia interrupts--she wants to examines Sam's eyes. He sits down and she turns off the light. She takes out an ophthalmoscope, telling him he'll need to see a specialist tomorrow. She looks very perturbed after checking Sam's eyes, turns on the light, and reluctantly tells the artist that he must see a specialist. Maggie hears this and sits next to her father. Julia wants Maggie to give her father a sedative and hands her some pills. Sam curtly demands to know what she saw, but Julia evades this by telling him, again, he needs to see a specialist. Sam doesn't think his condition temporary, but reluctantly accepts the pills. He falls over another stool. Maggie helps him up, and Sam demands, as he is led away, "What's an artist without eyes?" Left alone, Julia tells Barnabas the old woman was, of course, Cassandra. She asks why he brought the portrait to Sam. I had to see if the portrait controls her or she controls it, he says--she and the portrait are one and the same. Julia gives him the bad news--the optic nerve is damaged and Sam might never see again. The nerve endings are pale now. Barnabas wonders when he'll learn not to involve others. When you are free, says Julia. Barnabas frets he never will be--and now he's destroyed another life. Julia tries to comfort him, but he is still guilt-stricken. Barnabas wishes something could be done--surgeons?--if only Eric Lang were alive. Julia agrees, if he were, all this might not have happened, even Adam. Adam, worries Barnabas, what if Angelique learns of him, what will she do to Adam?
Adam listens to Lang's tape. "Before," repeats Adam. "As before." Willie brings in food and accuses Adam of talking to himself, of not being his friend. Adam is hungry. 10 o'clock feeding for the baby, taunts Willie. Adam reaches for his food, saying, "As before." You learned something, huh? asks Willie cruelly--he wants to teach Adam something new. He tosses away some of the food, then begins to hold up and tease Adam with a chicken leg. "Barnabas," says Adam, reaching angrily for the food. Willie tells him if he wants the food, he has to say "I stole. . ." Things escalate, and Willie prowls the cell, wanting Adam to say "I stole the earrings", or he's going to eat his food.
Say it! Demands Willie, as Adam continually reaches, fruitlessly, for his chicken. Adam frees himself from the leg chain and comes after Willie. Willie tries to lock him in, the entire wall shaking, but Adam escapes and pursues Willie. They reach the front door, Adam menacing Willie. Barnabas and Julia return to the Old House. She tells him she won't let him stay alone, he's too depressed. He feels he has a right to be, given his guilty load. Then enter the house to find Adam strangling Willie. Barnabas orders him to let Willie go, but Adam doesn't, he's had too much taunting from his pseudo-brother. Barnabas tries to drag Adam away, raising his cane over Adam, beating him with it.
Adam, shocked at this cruelty, stares in disbelief at his "father". Again and again, Barnabas beats Adam. "Let Willie go," he shouts. "Barnabas," sobs Adam, releasing Willie. Adam stands, grabs Barnabas' cane from him, tosses it away, and begins strangling Barnabas. "No, Barnabas, no!" cries Julia as Adam pushes Barnabas, gasping for air, against a chair and continues to strangle him
NOTES: SAD, SAD, SAD! Poor Sam, Adam, even poor Willie, to some extent. Willie is to blame here, he took things too far, but then again, this shows clearly that releasing him from Windcliff was a terrible idea, and that is Barnabas and Julia's serious error. Adam wants and needs approval like a child, and no one seems to be giving him what he needs. And now, with this explosion of violence, things can only get worse. As far as Adam is concerned, Barnabas has betrayed him, hurt him, and now he will hate him as much as he revered him.
What will become of Sam, an artist without eyes? He once lost the use of his hands thanks to another wicked woman--Laura Collins. Barnabas asked for his help but didn't think through the consequences, as he often fails to do. Is poor Sam destined to lose everything thanks to the Collins family?
Love, Robin
